BY SUNIT JANGIR

Chennai, October 28 - Indian cinema legend Rajinikanth continues to be busy doing films at the age of 75 despite his age and health concerns. The superstar is currently shooting for director Nelson Dilipkumar's highly anticipated Jailer 2, which is scheduled to release next year. Rajinikanth has been doing films non-stop and travelling regularly for them. According to the latest reports in Tamil media, the legendary actor is planning to retire from cinema after a multistarrer film with another legend, Kamal Haasan. The big project with Kamal Haasan has already been confirmed by the duo themselves, but who will direct it is still not confirmed. Reports say that Nelson Dilipkumar has been assigned this mega duty to handle both legends, and the director has reportedly agreed to the same. It is said that Nelson is planning to take the film in 2027 as he needs more time for the script. The project will be produced by Kamal Haasan's Raaj Kamal Films International. As per Valaipechu, it will be Thalaivaar's final film before he bids goodbye to his glorious cinema career. Before the multistarrer, Rajinikant will reportedly do one more film with RKFI, and it will be directed by Sundar C. The announcement for the same is expected to be made in a couple of weeks. The superstar also has a film with Bollywood producer Sajid Nadiadwala, for which the timeline is not fixed. As things stand today, Rajinikanth has at least 4 films in the pipeline, including Jailer 2, which is his immediate next. He reportedly wants his film with Kamal Haasan to be his swansong, marking a fitting farewell to his memorable career. Stay tuned...

BY SUNIT JANGIR

Bengaluru, October 28 - Amid the disappointing news of early OTT release, Risabh Shetty's Kantara Chapter 1 continues to draw big crowds in theatres. In a massive milestone, it has become the highest-grossing Indian film of the year, beating the Bollywood blockbuster Chhaava. Produced by Hombale Films, Kantara Chapter 1 has been one of its kind phenomena for Kannada cinema. The film's box office juggernaut has made it the most-watched Indian title of 2025 in theatres. In 26 days so far, the film has sold approximately 3.20 crores tickets in India across all languages, beating Chahava's 3.10+ crores admissions to become the number 1 movie of 2025. Kantara Chapter 1 is the second movie of 2025 and the ninth film in the post-pandemic era to top 3 crores (30 million) footfalls at the Indian box office. Yash-fronted KGF Chapter 2 remains the biggest blockbuster with over 5 crores admissions, and it, along with Kantara 2, is the only Kannada film of all time to reach 3 crores admissions. The prequel to 2022's blockbuster has also topped 1 crore (10 million) footfalls in the dubbed Hindi version, becoming the first South Indian film of 2025 to do so. The original Kannada version is the number 2 with around 80 lakh admissions, while Telugu, Malayalam, and Tamil versions have sold over 1.30 crores tickets so far. Meanwhile, the film has grossed approximately 817 crores worldwide, including around 707 crores in India and 110 crores overseas, after 26 days. It was well on course to finish with 875+ crores worldwide, but the target now looks difficult after makers confirmed its digital release from October 31 in South Indian versions. Stay tuned...

BY SUNIT JANGIR

Mumbai, October 28 - After winning accolades and high praise for Article 370 last year, actress Yami Gautam returns with another real-life based film Haq, co-starring Emraan Hashmi. Written by Reshu Nath and directed by Suparn S Varma, the film also stars Vartika Singh, Danish Husain, Sheeba Chadha and Aseem Hattangady in pivotal roles. The trailer of Haq, which is inspired by the Supreme Court's 1985 historical judgement in the case of Mohd. Ahmed Khan vs. Shah Bano Begum was launched on October 27. The trailer has proved to be a hype raiser and promises another intense courtroom drama. The trailer introduces Yami Gautam as Shazia Bano, who takes her husband, Abbas (Emraan Hashmi), a prominent lawyer, to court after he abandons her and their children and marries another woman. The relationship between the two is briefly shown, and how Abbas verbally pronounces divorce to Shazia, denying her any maintenance after paying her some amount of money. In the film, Emraan Hashmi's character Abbas argues in favour of the Islamic personal law while going against the secular law, whereas Yami fights for her rights. Haq is a fictionalised and dramatised version of events stated in the book titled Bano: Bharat ki Beti, written by Jigna Vora, as per the makers. Produced by Baweja Studios, Junglee Pictures, and Insomnia Films, the movie is scheduled to release on November 7. Stay tuned...

BY SUNIT JANGIR

Mumbai, October 28 - Bollywood superstar Akshay Kumar is reportedly set to reunite with director Anees Bazmee for an action comedy film, tentatively titled Ram Aur Shyam. Recently, it was reported that Bazmee had locked his next and was looking to sign a top star for the same. According to the report, Akshay Kumar will be playing a double role in Ram and Shyam. The film reportedly takes inspiration from the original 1967 classic, which featured the legendary Dilip Kumar in a memorable double role. If true, it will mark the duo's first collaboration since Thank You (2011). The film will reportedly be produced by Dil Raju, one of the leading producers of Telugu cinema. The pre-production of Ram and Shyam will begin in December this year, and the shoot is said to commence in March 2026. Interestingly, there are reports that Dil Raju will produce the Hindi remake of his blockbuster Sankranthiki Vasthunam with Akshay Kumar in the lead. However, there is no confirmation on the same yet. The official confirmation on the project is still awaited, as Bazmee also has No Entry Mein Entry. There were reports that the film was shelved, but producer Boney Kapoor recently confirmed that it is still on and will roll out next year. So, it needs to be seen how Bazmee fits both projects. Stay tuned...

BY SUNIT JANGIR

Mumbai, October 28 - The South Indian film industry has been at the forefront of India's box office resurgence over the past few years after facing the setback from the Covid-19 pandemic. From crowd-pullers like KGF 2, RRR, and Pushpa 2 to record-breaking phenomena like Kantara Chapter 1, these films have consistently drawn large numbers of audiences back to theatres. Yet, despite the success of tentpole blockbusters, the theatrical run of such films is being cut short far too soon due to premature OTT releases. This growing trend poses a serious threat to the sustainability of the theatrical ecosystem. After the pandemic, the entertainment industry, especially theatrical exhibition, was among the worst-hit sectors. Theatres across the country were shut for months, and filmmakers were left with no choice but to take an alternative route to recover costs. This was when digital platforms emerged as a boon, offering an immediate solution for film releases. However, this was never a long-term solution, given the limited financial returns from OTT platforms compared to theatrical revenue. Once the pandemic eased and normalcy returned, it became crucial for filmmakers to go back to basics and rebuild the theatrical business and help the sector recover from the pandemic blow. Bollywood was the first to do so, reinstating the pre-COVID norms and maintaining an eight-week theatrical window before films headed to OTT. Unfortunately, the same cannot be said about South Indian cinema, where most films continue to follow a four-week window. This shortsighted approach has severely impacted theatres, particularly in Karnataka, where exhibitors are struggling to draw audiences back, especially for mid and small-budget films. Viewers are now aware that a film will be available to stream online within a month, which discourages them from visiting theatres. While producers might still manage to recover their budgets and earn quick profits through early digital deals, this strategy is proving disastrous for exhibitors. Theatres are the proven backbone of the film industry's economy, and neglecting their long-term survival will ultimately harm everyone involved. The time has come for theatres in the South to take a decisive step and insist on a longer theatrical window, just as Bollywood has done to some extent. A uniform minimum eight-week window can help sustain the box office momentum and restore the balance between filmmakers, exhibitors, and audiences. South Indian cinema, just like any other film industry, has built its reputation on big-screen spectacles and community-driven experiences. To safeguard that magic and ensure the future of theatrical viewing, exhibitors and filmmakers must reunite for better planning. Protecting the theatrical window is not merely about the film business; it's about keeping alive the very essence of cinema that audiences love and celebrate. Stay tuned...

BY CHRISTA LINCY

Samantha Ruth Prabhu’s next film Maa Inti Bangaaram, also starring Gulshan Devaiah, has officially gone on floors with a traditional muhurat ceremony. Produced under Samantha’s banner Tralala Moving Pictures, the film reunites her with director Nandini Reddy after Oh! Baby and promises to blend heartfelt drama with strong emotional depth. The actress shared glimpses from the launch, describing it as a story that “spoke straight to her heart.” The first-look poster has already turned heads, showing Samantha in a powerful new avatar — draped in a sari and wielding a double-barrelled shotgun — hinting at a character who combines vulnerability with fierce determination.The title Maa Inti Bangaaram, which loosely translates to “The treasure of our home,” beautifully reflects the film’s core themes of family, belonging, and resilience. Joining her are Gulshan Devaiah, Diganth Manchale, Gautami, and Manjusha in key roles, while Om Prakash handles cinematography and Santhosh Narayanan composes the music. Raj Nidimoru gave the inaugural clap, setting off buzz around this highly anticipated venture. With filming now underway and visuals hinting at an intense, performance-driven story, Maa Inti Bangaaram stands as a defining project for Samantha — an emotionally charged yet commercially engaging film that reinforces her position as one of Telugu cinema’s most compelling leading voices.

BY SUNIT JANGIR

Hyderabad, August 6 - Pan-India superstar Prabhas-fronted romantic horror-comedy The Raja Saab is among the most-anticipated Indian movies. Directed by Maruthi, the movie has officially been postponed from December 5, 2025, as was already reportedly in the media. Produced by People Media Factory, the movie will now be hitting the big screens on January 9, 2026, during the Sankranthi festival weekend. The makers officially confirmed the release date during the trailer launch event of Teja Sajja's Mirai, which is produced by the same team. With The Raja Saab confirming to come on Sankranthi, this marks his first film in 18 years, since Yogi (2019), to release during this lucrative holiday period. At the moment, the film is clashing with megastar Chiranjeevi's Mana Shankara Varaprasad Garu, which was announced for Sankranthi 2026, along with Thalapathy Vijay's Jana Nayagan. Prabhas is undoubtedly one of the most bankable Pan-India stars, who can do wonders at the box office if the film is good enough, and considering this, the makers have given the best chance to the film to explode at the box office as Sankranthi is a major holiday period for the box office. During a recent interview, producer TG Vishwa Prasad hinted that they are planning to release the movie on January 9, 2026, while mentioning that Bollywood buyers were insisting on sticking with the December 5, 2025, release. The producer added that a few songs and some patchwork are yet to be completed as they are expecting to wrap the film by October. He also revealed that director Maruthi has shot raw footage of 4 hours and 30 minutes, and the editing team is working on chopping and editing it down to about 2 hours and 45 minutes. It can be said that the final runtime of The Raja Saab will be around 165 minutes, and it might get stretched to around 3 hours. Produced by People Media Factory and IVY Entertainment, the film's plot revolves around a young man who sets his eyes on his ancestral property to ease him out of a cash crunch. It stars Prabhas in the lead role, alongside Sanjay Dutt, Nidhhi Agerwal, Malavika Mohanan (in her Telugu film debut), and Riddhi Kumar. Stay tuned...

BY SUNIT JANGIR

Bengaluru, October 27 - The exhibitors of Karnataka finally had a moment of joy this year with Rishab Shetty-fronted Kantara Chapter 1 doing excellent business and bringing people to theatres in big numbers. They were hoping for more to come, but their happiness has been cut short by a disappointing and questionable move by the makers. Despite the film continuing its very good run and showing remarkable stability across regions, the team has decided to drop it on the OTT platform much sooner than expected. At a time when almost every South Indian film is dropping on OTT after just four weeks of its theatrical release, Kantara Chapter 1 had the perfect chance to break the trend. The Rishab Shetty directorial was still performing excellently at the box office, showing no signs of slowing down even in its fourth weekend. With a strong hold and exceptional word of mouth, the film was well on its way to extending its glorious run and setting new benchmarks for long theatrical sustainability in the post-pandemic era. In its fourth weekend alone, the film grossed over 30 crores domestically, with nearly half of that coming from the Kannada version. These are solid numbers for a film that opened to massive numbers in its initial week, proving its continued dominance and audience connection. A longer exclusive theatrical run could have easily pushed the film's lifetime total significantly higher, adding many more crores to its already stellar tally. However, the makers have now officially confirmed the film's OTT release. The period folk actioner will drop on Amazon Prime Video on October 31st in Kannada, Telugu, Malayalam, and Tamil versions, four weeks after its release. This decision comes across as both disappointing and questionable, especially considering the film's ongoing momentum at the ticket windows. In opting for an early digital release, the team may have left considerable box office potential untapped, undermining what could have been an even more historic run. Beyond the numbers, this move also affects exhibitors, particularly in Karnataka, where Kantara Chapter 1 has been a saviour amid a dull theatrical year. A longer theatrical run would have benefited both the film's legacy and the local theatre chains, reinforcing the power of strong content to sustain on the big screen. Instead, this shortened window feels like a missed opportunity for both the industry and the film's makers, and more importantly, for the theatre ecosystem, which has been struggling this year in Karnataka. Stay tuned...

BY CHRISTA LINCY

This Friday, 31 October, brings an unprecedented cinematic flood across South India — a single day where Tamil, Telugu, Kannada and Malayalam screens usher in a wave of new titles, each vying for the spotlight. From mythic epics to horror thrillers, festive entertainers to rural comedies — the big-screen menu is bigger than ever. Audiences will find themselves spoiled for choice as the industry treats this not just as another release day but as a continent-wide launch event of epic proportions. 1.Baahubali: The Epic – Releasing October 31, 2025 Languages: Telugu, Tamil, Hindi, Kannada, Malayalam Genre: Action / Adventure / Drama The film unites the two-part saga into one narrative, weaving together grandeur and drama into a single epic experience 2.Mass Jathara – October 31, 2025 Language: Telugu Genre: Action / Drama Ravi Teja’s return to full-fledged mass entertainment promises all the fireworks fans expect — high-voltage drama, sharp dialogues, and the celebratory flavor of a festival blockbuster. 3.Karmanye Vadhikaraste – October 31, 2025 Language: Telugu Genre: Crime / Drama It is a suspense-filled drama centered on investigations and moral dilemma. 4.Operation Padma – October 31, 2025 Language: Telugu Genre: Action / Thriller The film focusses on an intelligence officer’s dangerous mission to protect national security. 5.Comondra Alien – October 31, 2025 Language: malayalam Genre: Psychological Thriller It as a new horizon in science-fiction narrative from the South. 6.Swapnasundari – October 31, 2025 Language: Malayalam Genre: Romantic Thriller A tale where love collides with secrets and unexpected danger. 7.Diés Iraé – October 31, 2025 Language: Malayalam Genre: Mystery / Horror / Thriller Featuring Pranav Mohanlal, this psychological horror dives deep into the battle between faith and fear, with striking imagery and haunting sound design. 8.Kona – October 31, 2025 Language: Kannada Genre: Psychological Thriller A visually rich, heartfelt journey through nature and survival — “Kona” captures the human spirit’s quiet strength. 9.Brat – October 31, 2025 Language: Kannada Genre: Action ,thriller A contemporary coming-of-age story pulsating with music, energy, and raw emotion, speaking directly to the youth of today. 10.Omen – October 31, 2025 Language: Kannada Genre: Horror / Thriller It is as a horror thriller rooted in suspense and eerie atmosphere. 11.Aaryan – October 31, 2025 Language: Tamil Genre: Crime Thriller Aaryan as a tightly-sketched narrative focusing on ambition and redemption. 12.Vattakhanal – October 31, 2025 Language: Tamil Genre: Crime / Drama A morally complex narrative that dives into ambition and betrayal, “Vattakhanal” carries the intensity of a slow-burning thriller grounded in realism. 13.Aan Paavam Pollathathu – October 31, 2025 Language: Tamil Genre: Comedy / Family Drama A refreshing addition to the week’s lineup, this lighthearted Tamil entertainer draws inspiration From classic rural comedies, balancing warmth, humor, and nostalgia. From the majestic battles of Baahubali: The Epic to the eerie shadows of Diés Iraé and the laughter of Aan Paavam Pollathathu, this week celebrates the full spectrum of Southern storytelling. Each film represents a distinct voice — Telugu’s blast, Tamil’s sentiment and satire, Malayalam’s nuance, and Kannada’s inventiveness. With theatres brimming with anticipation, audiences are poised to experience a cinematic feast that shows why South India remains the creative heartbeat of Indian cinema.

BY CHRISTA LINCY

With October closing out, digital platforms are ushering in a rich spread of new titles across languages and genres. Leading the lineup is Kantara: Chapter 1, the massive Kannada-language hit directed by Rishab Shetty. The film, one of the year’s most celebrated Indian releases, has collected a staggering ₹813 crore globally, including an India gross of ₹703 crore. The regional breakdown paints an equally impressive picture — Karnataka leads with ₹236.05 crore, followed by Andhra Pradesh–Telangana at ₹104.85 crore, Tamil Nadu at ₹69.7 crore, and Kerala at ₹54.9 crore — with every major region proudly crossing the ₹50 crore mark. The film’s performance across languages has been nothing short of extraordinary. The Hindi version has stormed into the ₹200 crore club with ₹204.85 crore, while the Kannada version has already crossed the milestone with an impressive ₹236.05 crore[gross] — reinforcing the film’s rare pan-Indian resonance. Now, as the buzz builds around its OTT premiere on Amazon Prime Video on October 30 or 31, the excitement is palpable. The film will stream in Kannada, Tamil, Telugu, and Malayalam, with a Hindi release expected a few weeks later.This move marks a calculated expansion, ensuring the blockbuster’s reach extends beyond theatres to a nationwide audience eager to relive its raw, elemental energy from home. Joining the week’s digital lineup are Lokah: Chapter 1 – Chandra, dropping on JioCinema on October 31, and Idli Kadai, which lands on Netflix on October 29, together offering viewers a diverse mix of regional storytelling and high-concept drama. The timing of Kantara’s OTT launch — barely four weeks after its big-screen premiere — highlights the evolving release strategies of Indian cinema, where films balance theatrical endurance with digital accessibility. For audiences, it’s the perfect close to the month: an invitation to witness celebrated performances, immersive visuals, and storytelling that transcends language barriers — all from the comfort of their screens.

BY CHRISTA LINCY

After storming global box offices, Jurassic World Rebirth is now gearing up to stomp into living rooms. Directed by Gareth Edwards and headlined by Scarlett Johansson, Jonathan Bailey, and Mahershala Ali, the film stands as a bold revival of the dino saga — a standalone sequel to Jurassic World Dominion that fuses grandeur with human drama. Following its July 2025 theatrical release and digital purchase rollout in August, the adventure is finally headed for streaming: Peacock in the U.S. from October 30, and JioCinema in India from November 14, with dubbed versions in Hindi, Tamil, Telugu, and English. The decision to bring the movie to OTT just months after its theatrical run comes after it roared past the ₹7,260.43 crore global mark,reaffirming the franchise’s pull even three decades after the first park opened its gates. Those who missed the IMAX spectacle can now experience it at home — the thunder of footsteps, the shimmer of scale, the pulse of survival — all restored in digital clarity. The release also marks a strategic expansion for Universal Pictures, proving that cinematic universes don’t end with closing credits but evolve across screens. Whether you stream it for Scarlett’s quiet intensity or the thrill of seeing a T-Rex reclaim its reign, Jurassic World Rebirth promises to make your couch the new jungle floor.

BY CHRISTA LINCY

R. Madhavan’s first look as G. D. Naidu landed like a revelation — aged features, the measured posture, the round spectacles — all rendered with prosthetic precision and a performance that immediately convinces. The brief teaser gave viewers a visceral impression of the inventor’s world: dim workshops, clinking machines and a quiet obsession with invention. Critics and fans have praised Madhavan’s radical makeover and the film’s restrained but intense tone. Alongside the visuals, the teaser slips in a stirring spoken refrain that reads like a call to moral resolve: Draw your sword of retribution to punish, for the cruel deeds of the wicked to perish. Like a tiger prowling in its cave. O’ noble Tamil soul, arise bold and brave. Unsheathe your sword of integrity to avenge the wicked for their cruelty. These words, set against the hum of invention, serve as the emotional heartbeat of the film. They aren’t literal, but symbolic — reflecting the defiant spirit of a visionary who dared to challenge convention. In GDN, invention itself becomes an act of courage, and creativity is framed as resistance against stagnation. GDN is helmed by Krishnakumar Ramakumar, a longtime collaborator of Madhavan and a filmmaker with a strong advertising background. The film is being produced by Varghese Moolan Pictures in collaboration with Tricolour Films, Madhavan’s own banner. The production houses have previously worked together on Rocketry, ensuring an experienced team that understands the demands of large-scale biographical storytelling. The cast features powerhouse performers such as Sathyaraj, Priyamani, and Dushara Vijayan, each essaying key roles from different chapters of Naidu’s life. The music is composed by Govind Vasantha, known for his emotive soundscapes in 96 and Asuran. Early glimpses indicate that GDN won’t follow a conventional biopic format. Instead, it seems to merge realism with stylized storytelling — using mood, language, and texture to portray invention as art. The film’s visual palette leans toward sepia tones and atmospheric lighting, complementing the gravity of its subject. Madhavan’s portrayal is already being praised for the physical restraint and emotional depth he brings, suggesting a performance that moves beyond imitation to internalization. Currently in post-production, GDN is gearing up for release in mid-2026, promising a thoughtful retelling of one of Tamil Nadu’s greatest minds. The film, through its poetic vision and technical finesse, aims to celebrate the power of imagination — proving that the true revolution begins not in machines, but in the spirit that dares to build them.